Archive for the Reviews Category

Review: Henry Kane

Posted in Reviews with tags , , , , , on November 3, 2019 by Magadh

Henry Kane, Den Förstörda Människans Rike, Transcending Obscurity (2017)

A guy I know sent me the link to this the other day and it’s pretty rocking. There are some interesting elements here. This is really nutballs thrash from Sweden. The accompanying blurb describes it as like a cross between Nihilist and Skitsystem, and I’m all for that as a concept, although this is really much more like a more blast beat-laden version of the former than the latter.

This is a solo project done by Jonny Pettersson, the singer from Wombbath. I like Wombbath, although when I listen to them, I often forget that they’re not Diabolical. Even if they were, that would still be pretty good, but anyway. Henry Kane is like a cranked-out version of this, and I must admit that it’s quite enjoyable, although the vocals have a pretty heavy reverb on them that doesn’t always work to their best advantage.

The subject matter of the songs doesn’t break any new ground in the world of death metal nihilism. Not that you necessarily want them to, and maybe that’s really part of the point. They contribute to the atmosphere and knit the whole thing together into a coherent package.
This disc came out a couple of years ago on Transcending Obscurity which is, as far as I am aware, the only extreme metal label based in Mumbai (or in all of India for that matter). They put out some pretty crazy shit and if you look at their catalog you will find that they are carrying the battle for transnational death metal, which is ok in my book.

Review: False Confession

Posted in Reviews with tags , , , , , , , , , on August 7, 2019 by Magadh

False Confession, Out of the Basement Demo CD Queer Pills

Sometime in the Spring of 1985 I was in Seattle. This was always a big thing. Seattle was six hours away from my home town, Walla Walla, at the opposite corner of the state, and I wasn’t likely to get there more than once or twice a year.

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Review: Alien Boys

Posted in Reviews with tags , , , , , , on June 7, 2019 by Magadh

Alien Boys, Night Danger (Desolate Records)

I’m going to just open up by saying that Vancouver B.C.’s Alien Boys have put out a punk rock record that is pretty close to flawless. If you don’t want to read any further, feel free to head over to their Bandcamp page and see if I’m right. But on the off chance that you need more convincing (from me) I will just say that on Night Danger they have found the sweet spot where rocking really fucking hard (which they do) meets smart, passionate politics (which they have). Honestly, I’m having a hard time thinking of something critical to say about them. Maybe it will come to me later.

First off, I love the name, not only because it is (I’m reasonably certain) a reference to the brilliant EP released by The Wipers in 1980, but also because Alien Boys is a great name for a band made up of five women. They put out a demo in 2016 called Self-Critical Theory. I can’t recall hearing it at the time, but it definitely had promise. It was pleasingly raw, chugging punk with melodies that lifted it above the run of releases in this vein. It was good, but it’s one of those things that looks better when you hear what came after.

Night Danger is in a whole other league. With two guitars the band absolutely thunders through nine cuts (plus the intro) of blazing, melody-tinged punk. There are a lot of reference points in the history of this genre that you could point to. Maybe Rabid Reaction-era Freeze (minus the stupid lyrics) crossed with early SNFU (no, not because they’re Canadian). Alternatively, they sound like The Gits with a second guitar and a lifetime supply of beer and steroids.

Alien Boys are unapologetically political and unflinchingly feminist. They have a kind of tonal similarity to War on Women in this respect, but with a slightly more goofball edge (I’m thinking here of the song “Bender” for which the video is fucking brilliant). Still, when they want to be serious they write songs that really strike home. One of the great failings of dudes (and here I do not exclude myself) is not hearing when women (especially those in the LGBTQ+ community) tell us that they don’t feel safe. “Whose Bodies?” is a great take on this:

When you go out to a nightclub, do you ever look around and wonder “is this safe?”
have you had to hit the ground?
does walking in the street with a loved one hand in hand make you do shoulder checks – because you feel demands from eyes that pry and ask you,
“why do you act this way?”
have you ever been cornered no chance to walk away
countless taken from us and more murdered every day
I’ll tell you something it takes strength to be out in this way
so we resist to this day

Night Danger is loaded with anthemic cuts that are passionately feminist and queer positive. It is, for this reason, not just a great record, but an important one as well. Writing great punk tunes is one thing. Using them as a vehicle for conveying messages that it is crucial that people hear is another. The ability to do both makes this one of the best punk records that I have ever heard.

After so many decades, one often finds oneself wondering if punk as a genre is played out. On the basis of this, you’d have to think it wasn’t. It retains its ability to deliver important messages. Punk always had an element (often a very strong element) of cis white guys mouthing political ideas that they didn’t really understand. But, at its best, it also created (and creates) spaces in which people marginalized people could talk about their lives and their experiences at the tops of their lungs. Sometimes you have to shout at the world because the world doesn’t want to listen. Night Danger is a great example of that.

Review: Martyrdöd

Posted in Reviews with tags , , , , , , , , , on June 1, 2019 by Magadh

Martyrdöd, Hexhammeren (Southern fuckin’ Lord)

I wrote somewhere, maybe here, that I always get kind of nervous when I hear that Martyrdöd are about to release a record. I can still remember when I first heard their classic In Extremis (2005), a record which rocked me as hard as anything crust record ever had. Ever since then I’ve been sort of waiting for them to drop off in quality. Sekt, released four years later, was good, but kind of didn’t live up to the earlier release. Paranoia was better but suffered from a bit of indistinctness that often happens to band that is tuned way down. Still, “Tragisk Zeitgeist” was a cut whose rage and power would not have been out of place on In Extremis. Eldop was great. List was better, especially the video for “Harmageddon,” with its footage of heroic women YPG fighters. Long story short, the bar for this band, at least in my estimation, could hardly be higher.

Hexhammeren opens with the title cut, a chugging, heal-damped jackhammer that gallops headlong into the darkness. The slightly more metallic picking style gives the music a different texture, swirling darkly underneath Martyrdöd’s signature melodic overlays. The second track, “Rännilar” (which I think means “rivulets” or something like that) gets back to the more mainline version of the band’s sound. But it is a pummelling track nonetheless, featuring yet another spiraling melodic line.

Since In Extremis, Martyrdöd have made their stock in trade the expression of the anger and sorrow of the world. That record was a barely contained explosion of rage and pain that seemed at all points ready to break the bounds of the recorded medium and to become manifest in the world, anguished and self-aware. Over successive releases, they have polished and refined their sound, but have never lost the edge of furious urgency of their early discs.

Something they’ve added to their repertoire since the release of List three years ago has been video accompaniment. The video for “Harmageddon” mentioned above was an excellent opening shot, juxtaposing footage of the band playing with clips of female YPG fighters doing the business against ISIS. This was particularly effective, not only demonstrating an interest in, and commitment to, actual struggles for actual justice, but also emphasizing the role of women in the ongoing struggle. The band themselves looked on the edge of desperation. Jens Bäckelin attacks his drum kit like a guy administering a beatdown to someone he hates from the old neighborhood.

The new disc is accompanied by videos for “Helveteslarm” and “Pharmacepticon”. The former is good, and has a slightly lighter tone than some of their other material. The latter gets back on model, showing dark and unsettling images over a chunky, mid-tempo cut with a melancholic melody, the sum total of which is quite unsettling.

The material on Hexhammeren constitutes a powerful reaffirmation of the validity of Martyrdöd’s approach. Songs like “Bait and Switch,” “Cashless Society,” and “Den Sista Striden” emerge like explosions of black flame, dripping with overdrive and raw emotion. Martyrdöd’s music is, in a sense, an aphotic apotheosis of crust as a genre, standing as a challenge to every other band to find new ways of fusing darkness and melody. Hexhammeren simply restates this challenge with the accustomed power and clarity.

Since their last record, they’ve had a bit of a lineup change, with Pontus Redig leaving and Tim Rosenqvist moving from bass to guitar. Filling his spot on bass is Daniel Ekeroth, formerly of Dellamorte and a bunch of other bands (and author of the definitive book on the early years of the Swedish death metal scene). So no worries there. If there’s anyone who knows how this music is supposed to sound, or how the bass fits into a band tuned down to somewhere around the key of C, it’s Ekeroth. If I hadn’t known this in advance, I wouldn’t have noticed the difference.

Maybe it’s something in the water. Or maybe they’re just all really depressed. For whatever reason, Sweden seems capable of producing a seemingly endless stream of devastating crust acts, and has been since the early 1980s. One can easily name a dozen such bands without thinking too hard, from Anti-Cimex and Crudes S.S., to Wolfpack and Skit System, and on to Myteri and Misantropic and myriad other groups churning out music that reflects the dark structures of life. Among these, Martyrdöd leads the charge, consistently delivering dark and punishing evidence of the world’s decay.

The world is going down the shitter. That is not news. But it is at least some comfort to be found in the capacity of bands like this to translate the sorrows of the world into forceful mixtures of light and darkness that have the power to block out the anguish of the lived crisis, at least for a moment.  

John from the Eastside

Review: Agnosy

Posted in Reviews with tags , , , , , , , , , , on May 14, 2019 by Magadh

Agnosy When Daylight Reveals the Torture Scream Records

Every few years the London crust band Agnosy drops another record. They seem to take a little longer between releases than some other bands, but it always seems like it’s worth the wait. When Daylight Reveals the Torture is no exception. As with their first two LPs (Past the Point of No Return and Traits of the Past), this new release is redolent with dark atmosphere. With each recording, Agnosy have managed increasingly complex song structures. They’re not the most melodic of crust bands. They don’t have the spiraling riffs of bands like Martyrdöd or Burning Bright, but they find their way to a happy medium between melody and hard-charging crust that works every time.

I like crust as a musical format, but I don’t find myself reviewing a lot of crust records, and it’s mostly because I don’t have a huge amount to say about them. It’s not hard to sound like Anti-Cimex, but that was then and this is now. So why is it that I find Agnosy so compelling? There are several reasons, but the most important is song structure. If you listen to In Extremis, Martyrdöd’s second record (and the one on which they really found their voice) what you hear is riffs that are longer and more complicated than those of Crude SS and their legion of imitators. This, by the way, is no slam on Crude SS, who were pioneers of crust in the same way as bands like (the aforementioned) Anti-Cimex, or Asocial, or Mob 47, or…well, you get the picture. Crust needed to develop stylistically and In Extremis was a step forward that moved the whole genre ahead.

Since then there have been a lot of very good crust records released, records that have picked up the gauntlet that Martyrdöd threw down. Some of you out there might be reading this and this that I’m getting the periodization wrong, forgetting bands like His Hero is Gone or From Ashes Rise or Tragedy. That’s a fair point, but I think that Martyrdöd’s riff structure is more complicated than any of those bands, much as they are all world-crushingly awesome. To my ears, Wretched of the Earth or Dark Circles are bands that have taken the idea of more complex riffs and song structures forward.

In any case, Agnosy have produced another absolutely raging disc, their best one yet by a ways, and that is really saying something. The guitar sound is crisp and clear, which is always a big question when you’re dealing with down-tuning. It tells you a lot that this disc was mastered at Audiosiege by Brad Boatright. Boatright has made himself into the pre-eminent figure is this line of work by making bands sound awesome without necessarily making them sound like From Ashes Rise. Not that it would necessarily be a bad thing if they did, but his products manage to be both dark and clear in ways that manage to sound original rather than just being copies of what his band sounds like.

When Daylight Reveals the Torture is pretty close to an ideal crust record. It isn’t too long, clocking in around half an hour or so. It leaves the listener wanting more, not less. In a related vein, the song arrangements are good, reasonably complex without losing focus. One of the real failings of a lot of crust music is the need to rehash the same ideas over and over. If you’re going to do really simple riffs, the songs need to be short enough that the people listening aren’t looking at their watches by the end. It’s one thing when you’re playing live and can bludgeon the audience with sound. On record there is a lot to be said for shorter is better. The relatively more worked out structure of Agnosy’s riffs keeps interest quite nicely. The guitars are thick and guttural, but the retain enough tone to make the music sound bright, in a downtuned sort of way. Politically engaged lyrics are a plus, and the singer sounds kind of demented while still making identifiable words. Stylistically they sound a bit like slightly catchier version of Myteri (at least to my ear), or Instinto, or maybe a bit like Warcollapse, although the drumming is a little less far out. Anyway, this release is absolute quality and really stands head and shoulders above what is a very crowded crusty field just at the moment.

Review: Sutekh Hexen

Posted in Reviews with tags , , , , , on May 11, 2019 by Magadh

Sutekh Hexen, S/T (Sentient Ruin Laboratories)

What seems like a lifetime ago, I was flipping through the Bandcamp offerings when a came across a new release by a death metal outfit from Barcelona called Cruz. I was mostly curious about them because I have some contacts in the Barcelona hardcore scene, and so wondered what was happening on the metal side of the tracks. Culto Abismal was not rich with novelty. But it was some chunky, riff-driven death metal that was well produced and catchy as hell. It’s still one of my favorite discs to this day. I got it via the Oakland-based label Sentient Ruin Laboratories. As time went on, I investigated some of the other offerings from SRL’s catalog. I think the next thing I got was VRTRA‘s My Bones Hold A Stillness, a weird mix of doom and crust that kind of sounds like Deathspell Omega on ketamine. Then I hooked up The Creeping Unknown by Noose Rot, which is some of the filthiest death metal you’re ever going to hear. I could go on. Pretty much everything that I’ve heard from this label has been weirdly brilliant (or brilliantly weird). The ultimate conclusion here is this: Sentient Ruin releases some seriously fucked up shit.

Fast forward to the present day. Magadh is sitting in his office in the public library, once again flipping through Bandcamp’s offerings in the hopes of chasing the boredom the comes with doing a bunch of repetitive tasks. I’ve rocked a few of SRL’s more recent offerings, especially De Val by the Dutch black metal outfit Verwoed, a real masterpiece of discordant atmosphere, and I start to see a lot of positive buzz around the recently released cassette by Sutekh Hexen. I’m game, I think. I’ve heard my share of black ambiance. This might be the kind of thing that will put me on edge…in a good way. About forty-five minutes later I’m sitting in my chair, eyes open wide, thinking about the place in Beyond Good and Evil where Nietzsche wrote, “Wer mit Ungeheuern kämpft, mag zusehn, dass er nicht dabei zum Ungeheuer wird. Und wenn du lange in einen Abgrund blickst, blickt der Abgrund auch in dich hinein.” [“He who fights with monsters should look to it that he himself does not become a monster. And when you gaze long into an abyss the abyss also gazes into you.”] The abyss seems to have looked back into me, and taken something, and I’m not entirely sure how to get it back.

The opening cut, “Descent,” sounds like the background noise as Charon ferries one across the river Styx: a weird buzzing cacophony in which the screams of the damned echo. This sets the stage for an odyssey that will last the better part of an hour which juxtaposes passages of echoey black metal with long stretches of modulated noise. Sutekh Hexen assaults the senses, most effectively I think because, as a listening, one is constantly trying to make some kind of sense of the aural composition with which one is confronted. But the attempt to turn this into something systematic and comprehensible must ultimately fail. The composers of this music simply will not allow the listener to find any kind of comfort or consistency. These sonic collages cannot really be parsed. They can only be experienced with greater or lesser degrees of psychic damage.

I’ve been listening to this record for a second time in the half hour or so that it’s taken me to compose this review. It’s really starting to freak me out. There are some parts that are just overwhelming. Other sections, like “Segue I: Ouroborus” sounds like what you’d hear while you were waiting for Pinhead to show up with some sort of giant, spinning blade to grind out the contents of your skull. I love this stuff, and simultaneously hate it because there is simply no way to get comfortable while listening to it. This is the lost soundtrack to the first Alien, redolent with horror, and using creeping menace in ways just as effective as the overwhelming walls of sound (which also appear from time to time).

I’ll probably get around to reviewing a number of Sentient Ruin’s other excellent recent releases, including Chasm by Suspiral, which is one of the most strange and depressing black metal releases I’ve heard in years. But for now, I think I need to sit alone in silence and try to recompose the fragments of consciousness that Sutekh Hexen have utterly fucking smashed.

Review: Nervosa

Posted in Reviews with tags , , , , on May 3, 2019 by Magadh

Nervosa Downfall of Mankind (Napalm)

As a band, São Paulo’s Nervosa have a lot going for them. To begin with, and clearly most importantly in this context, they play absolutely ripping death metal. Also, they’ve got something to say which, sadly, is not the case with most bands in this genre. Sure, it’s funny to hear songs about zombies gobbling up people’s entrails. But it’s refreshing when you hear a band that deeper ideas than what they saw on last night’s splatter offering…and can back it up with flawless chops.

 

Nervosa are the whole package. Downfall of Mankind, released in June of last year, serves up 13 helpings of blistering Brazilian death metal that speaks truth and takes zero shit. As with a lot of Brazilian bands, Sepultura are an important reference point. On their previous records, Victim of Yourself (2014) and Agony (2016), that similarity was alloyed with a kind of filthiness. Listening to Agony puts one in mind of Beneath the Remains, but as if the cuts were being played by Black Breath around the time the recorded Sentenced to Life.

Downfall of Mankind still recalls Sepultura but asserts its own sound. The recording is crisp and clear, allowing guitarist Prika Amaral to drive the music forward with a mix of rapid back picking and triplets. Luana Demeto’s drumming is absolutely rock solid, using a mix of single and double bass techniques to keep the music at maximum warp without letting things degenerate into chaos. Fernanda Lira provides thundering basslines and vocals that absolutely hit the sweet spot between intensity and being able to hear what she’s saying.

 

The latter is important. As this story from Blabbermouth.net (and the accompanying interview clip) clearly illustrate, Nervosa are smart enough to recognize the fucked up politics of their homeland (and elsewhere) and articulate enough to put build that into their air without compromising either in any way. This is a hard mix to get right for even the most experienced bands and artists. Watching these young women at the top of their game, politically aware, unapologetically feminist, and fearless, is pretty amazing.

 

They’ve done a number of videos, which mostly involve them playing the songs, and are mostly pretty good. For my money, the best is this one for “Raise Your Fist.” Lira, grinning wickedly, opens with “This one goes for the activists! This one goes for the militants!” in a hyperaggressive growl the lets you know that she means fucking business. The video itself features live footage interspersed with clips of from well-known scene figures (you know who they are when you see them) and average people engaged in struggles for freedom, equality, and human dignity. The picture of the little kid in a t-shirt that says, “Strong, resilient, indigenous” is too awesome to be fully expressed in words.

 

Nervosa are currently on tour in Europe. I want to see them here, now. So come to North America, because we need you here too. Nervosa are propaganda of the deed of the highest order. They absolutely stick the boot into the deathmetal boys club, and that’s a good thing. This is the kind of thing that you want every girl to see, to feel her power, and to know that her strength and her truth can blast their way into the world.

 

P.S. For those interested in a deeper dive, here are a couple of videos that Napalm posted of the band talking about the songs on Downfall of Mankind.